National Press Photographers Association

Via Email
November 24, 2015
Mr. Norman Pearlstine
Chief Content Officer
Time, Inc.
Time-Life Building
1271 6th Ave.
New York, NY 10020
Re: Concerns regarding Time Inc. Commissioned Photographer Agreement
Dear Mr. Pearlstine:
As general counsel for the National Press Photographers Association (NPPA) along with
the Executive Director of the American Society of Media Photographers (ASMP), we write to
you on behalf of the organizations listed below to express our very strong concerns over the
terms of the Time Inc. Commissioned Photographer Agreement which you are requiring
independent contractors to accept and without which “no new assignments will be made [ ] after
January 1, 2016.”
While we understand your desire “to create a new management system that will allow
[you] to track the use of commissioned editorial photography and to foster a consistent approach
across Time Inc.,” we strongly object to the draconian terms and conditions you impose on those
contractors in order to increase your profitability. Indeed, we believe the agreement as written
will have the opposite effect by undermining your longstanding commitment to those who have
produced those iconic images for almost 100 years.
A number of photographers have expressed outrage regarding the new terms that negate
their capacity to earn fair syndication and licensing fees without any meaningful increase in the
“Assignment Photo Day Rate,” which sets maximum payments that are below those paid 35
years ago when adjusted for inflation. By cleverly using the words “up to” you have created a
contract of adhesion granting a long list of comprehensive rights to your company while offering
only a payment of somewhere between $0 - $650 for a day rate and $0 - $1,000 for a “Print Mag
Cover.”
Many of the egregious inequities of this agreement, which is more a take-it-or-leave-it
ultimatum, than it is a fair bilateral contract, have already been pointed out in a number of online
posts. But for context we list a few of the more problematic ones:

Time, Inc. Letter
November 24, 2015
Page 2

•

•

•

•

•

•
•

•

•

“Rights Granted” creates a broad rights grant “to reproduce, distribute, publish, publicly
perform, display, download, transmit, and store the Photographs, and authorize and
license the exercise of such rights to and by third parties, each and all throughout the
world, in perpetuity, in any and all media, formats and methods of transmission now
known or hereafter developed” including the right to “crop and re-crop, size, resize and
otherwise modify the Photographs in any ways . . .” as well as use the “name, likeness
and/or biographical information” of the photographer “in order to credit” them even for a
photograph that had been drastically or unethically “modified” by the Publisher.
“Work for hire” language undermines and to a great extent negates many (if not most) of
the reserved and retained photographers’ rights, “including ownership of the copyright”
not already “specifically granted to Publisher” and imposes on the photographer the
requirement to obtain from their assistants similar work for hire agreements granting
“copyright ownership in their contributions” to the photographer “or Publisher.”
“Embargo/Exclusivity Period” grants even broader control over publication rights not
already usurped by already onerous terms and may actually preclude publication of
certain images even after the period has expired. It also prohibits use by photographers of
their images in self-promotion marketing materials, personal portfolios or social media.
“Fees & Expenses” provides a frightening loophole for the Publisher to withhold
payment until “after delivery and acceptance of the Photographs and Videos and receipt
of tax, expense, independent contractor verification, and any other documentation as
reasonably required by Publisher” and further provides Publisher with the “right to
change the Rate Card at any time upon written notice . . . .” Under this clause rates could
get even worse and the Publisher could refuse to pay if, for whatever subjective reason,
he decides not to accept the photographers work.
“Photo/Video/Subjects” places the responsibility “for clearing all rights and permissions”
on the photographer so that your company may exercise any and all of its rights. Here a
photographer would be responsible should an image made (with permission) for editorial
purposes be used or licensed by the Publisher, at his sole discretion, for commercial use.
This clause may cause photographers to be in breach of contract with previously agreed
to usage terms required by sports and entertainment organizations and performers.
Photographers are required to waive many legal rights and remedies normally available in
any contract dispute.
Other terms grant Time Inc, the exclusive right to market published images, selects, and
outtakes from any assignment, eliminating the ability of a photographer to also use
outtakes to produce future licensing revenues.
Photographers would not have the right to use a cover image for personal marketing
purposes or to license it for other uses in the future once published without securing
Publisher’s permission which can be denied or revoked at any time.
Photographers who object to specific terms or clauses cannot modify the contract in any
way.

The broad grant of rights to Time, Inc. and the severe restrictions on contributors’ rights
in exchange for unspecified consideration (except for a cap on that amount) along with
burdensome obligations which enure to sole benefit of the company require us to request that

Time, Inc. Letter
November 24, 2015
Page 3
you extend your termination notice and enter into meaningful discussions with those in the
photographic community to revise and create a fair agreement.
We realize that some photographers may have already signed this agreement and that you
may be relying on many more to do the same. Instead, we ask that you seize this opportunity to
elevate your company to the days when photographers felt proud and privileged to contribute to
such an esteemed organization by honoring your commitment to not only “original photography”
but also to the contributors who create those images. Only “time” will tell which is the best
course to take.
Thank you for your attention to this matter. We look forward to your response.